Shinya Ban returns from the south and is deeply disappointed when he learns,
that his mutual friend Yuriko is marrying Toshio, the son of Zenpei Hamaguchi,
for her obligation. He encouraged the unhappy Yuriko,
and taught her how to make her marriage with Toshio a happy one.
He makes a fresh start as an architect under the care of Ryosuke Shibata,
who had taken care of his father, but Ryosuke’s daughter Sumiko has feelings for him.
Fujie Kakimoto’s son Koichi came to know about Sumiko,
and asked her to marry him after coming to Shinya to ask for her design.
Knowing that Shinya’s love for Yuriko would not be easily wiped away,
Sumiko decided to marry Koichi, who had a bad leg.
Shinya watches the beautiful bond between Koichi and Sumiko,
and decides to forget his past and move forward on the path to self-perfection.

Noboru Nakamura - Dreaming People [1953]-HDTV-KG.mkv

General
Container:  	Matroska
Runtime: 	1 h 36 min
Size: 	5.48 GiB
Video
Codec: 	x264
Resolution: 	1080x1080 ~> 1440x1080
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	8 000 kb/s
BPP: 	0.286
Audio
#1:  	2.0ch AAC LC (Stereo)

https://nitro.download/view/09A1A5973D3CECE/Noboru_Nakamura_-_Dreaming_People__1953_-HDTV-KG.mkv
https://nitro.download/view/5B65A16BA8C3861/Noboru_Nakamura_-_Dreaming_People_1953.jp.srt

Language(s):Japanese
Subtitles:Japanese

The post Noboru Nakamura – Haru no koteki AKA Dreaming People (1953) first appeared on Cinema of the World.

Quote:
A Woman’s Uphill Slope follows the fortunes of Akie (Mariko Okada), a young woman who visits Kyoto after inheriting a shop that sells traditional sweets. Fascinated by the shop’s traditions, she abandons her plans to open a tailor shop and decides to stay. She soon falls in love with a married painter, Saburo Yaoi (Keiji Sada), who turns out to be her mother’s former lover.

Director Kōzaburō Yoshimura, a contemporary of Akira Kurosawa, explores the female experience in post-war Japan through his films. Many are set in Kyoto, serving as the backdrop for his artistic portrayal of industries on the verge of decline in a time of rapid modernisation.

This film was shot by Yoshio Miyajima—nicknamed the ‘Emperor of Cinematography’ and known for his work for Masaki Kobayashi—and features a bold combination of traditional and modern colours, classical architecture, and an avant-garde soundtrack by Toshiro Mayuzumi. Mariko Okada’s performance, portraying the life of an independent woman in post-war Japan, is a highlight of this star-studded masterpiece.

DVD label: SHOCHIKU
DVD5
DVD Format: NTSC
DVD Audio: Codec AC3 2.0
Program: PgcDemux, MaestroSBT, Muxman, VobBlanker, DVD Sub Edit, IfoEdit
Menus: Untouched
Video: Untouched
Audio: Untouched
DVD extras: Untouched
Extras contain: None
DVD runtime: main feature 01:46:59

https://nitro.download/view/226580C4533FE63/A_Woman’s_Uphill_Slope_1960_480i_DVD_NTSC_DD2.0_DIY.rar

Language(s):Japanese
Subtitles:English

The post Kozaburo Yoshimura – Onna no saka AKA A Woman’s Uphill Slope (1960) first appeared on Cinema of the World.

Quote:
This film by Toyoda depicts the hard life of an unmarried mother in Tokyo. Umeko (Machiko Kyo), at 36, is working in a bar, struggling valiantly to keep her family together. Her 17-year-old daughter Takeko becomes increasingly upset by her mother’s constant drinking and yakuza boyfriend, and runs away from ho…

Shiro Toyoda - Sweet Sweat [1964].mkv

General
Container:  	Matroska
Runtime: 	1 h 59 min
Size: 	6.03 GiB
Video
Codec: 	MPEG-2
Resolution: 	720x480
Aspect ratio:  	16:9
Frame rate: 	29.976 fps
Bit rate: 	6 886 kb/s
BPP: 	
Audio
#1:  	2.0ch AC-3 /192 kb/s

https://nitro.download/view/DBBA0703EBA44D9/Shiro_Toyoda_-_Sweet_Sweat__1964_.mkv
https://nitro.download/view/DE01E801BD394BD/JPN_VobSub.zip

Language(s):Japanese
Subtitles:Japanese

Many thanks to@xrt for this copy

The post Shirô Toyoda – Sweet Sweat AKA Amai ase (1964) first appeared on Cinema of the World.

Quote:
This film by Toyoda depicts the hard life of an unmarried mother in Tokyo. Umeko (Machiko Kyo), at 36, is working in a bar, struggling valiantly to keep her family together. Her 17-year-old daughter Takeko becomes increasingly upset by her mother’s constant drinking and yakuza boyfriend, and runs away from ho…

Sweet Sweat 1964 HDTV 1080i AAC MPEG2-JPTVclub.mkv

General
Container:  	Matroska
Runtime: 	1 h 59 min
Size: 	8.69 GiB
Video
Codec: 	MPEG-2
Resolution: 	1440x1080 ~> 1920x1080
Aspect ratio:  	16:9
Frame rate: 	29.970 fps
Bit rate: 	Variable
BPP: 	
Audio
#1:  	2.0ch AAC LC

https://nitro.download/view/54CA5A65E2FA11C/Sweet_Sweat_1964_HDTV_1080i_AAC_MPEG2-JPTVclub.mkv

Language(s):Japanese
Subtitles:Japanese

The post Shirô Toyoda – Sweet Sweat AKA Amai ase (1964) first appeared on Cinema of the World.

A woman adopts the child of her husbands’ ill mistress and raises her as her own.

Hunting.Rifle.1961.1080p.WEB-DL.AAC2.0.H264-ZETA.mkv

General
Container:  	Matroska
Runtime: 	1 h 38 min
Size: 	2.80 GiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	Variable
BPP: 	
Audio
#1:  	jap 2.0ch AAC LC

https://nitro.download/view/AB147F65634580B/Hunting.Rifle.1961.1080p.WEB-DL.AAC2.0.H264-ZETA.mkv

Language(s):Japanese
Subtitles:English

The post Heinosuke Gosho – Ryôjû AKA Hunting Rifle (1961) first appeared on Cinema of the World.

Quote:
“Sooner or later, everyone who loves movies comes to Ozu. He is the quietest and gentlest of directors, the most humanistic, the most serene.” — Roger Ebert

It took long enough, but I sampled my first Yasujiro Ozu film, Good Morning (Ohayo), and will soon indulge myself with as many of his works as I can locate. At one time, his films were thought to be “too Japanese” and weren’t available in the West, but if Good Morning is any indication of his craft and appeal, Ozu deserves a much wider audience. It’s a film that works at multiple levels, and only artistic geniuses like Shakespeare have been able to pull off such a universal work that works with both down to earth people and with the upper levels of critical audiences equally.

Seen at the surface, Good Morning comes across as a comedy, filled with mistaken assumptions and long running flatulence jokes and memorable characters. Set in 1950’s suburban Tokyo in a tightly knit housing complex that brings forth remembrances of Malvina Reynolds’ “Little Boxes,” the plot weaves four household stories together without misstep. The women are embroiled in a “who-dunit” intrigue about missing club dues, suspecting the woman who has just purchased a washing machine, an unemployed English teacher can only speak banalities to the woman he loves, an older retired man on meager means habitually gets humorously drunk and can’t find his own home (they all look alike), and two young boys stage a tantrum and practice a stubborn “vow of silence” when their parents refuse to buy a television set.

Painting his cinematic palate with bright colors to create a light-hearted and joyful film, Ozu offers well paced vignettes of each of the ensemble cast that are as pointedly direct as are his consistent straight on shots. Each character receives ample medium and close-up shots that give the impression of their sincerity—the emotions are outspoken and nothing hidden.

The central story revolving around the television set that brothers Minoru (Koji Shigaragi, age 13) and Isamu (Masahiko Shimazu, age 7) so adamantly desire expose character and thinking in transitional Japan of the 1950s, an era when “made in Japan” was a running joke about cheaply made products. All the neighborhood boys gather daily at a young couple’s apartment to watch Sumo wrestling, and the parents have discovered that their sons have been lying about doing their homework and ban them from visiting the neighbors with the TV. Minoru and Isamu’s middle class parents can afford a TV, but the father doesn’t want a TV because it will “produce 100 million idiots.”

Minoru demands that they join the “modern age” and get a TV so they won’t have to watch at the neighbors and childishly cries and throws a massive tantrum, which his younger copy cat brother parallels. Their motives are simple to understand, as is the mother’s natural reaction against the power play and the father’s chauvinistic chiding that they are acting like women and for them to “shut up.”

Adding another dimension are the wide ranging effects the two boys have on the entire little community when they begin their silent strike. Just the act of not greeting the neighbors sets off another series of rumors about the household, concerns at school (they refuse to talk there as well), and inspires their English tutor to reflect on how banal greetings and idle talk act like “lubricant” to keep society flowing properly. Thinking of his love for the boys’ older sister, he muses,

”But important things are difficult to say, whereas meaningless things are easy to say.

His mother totally agrees, and muses how it would be nice for him to marry the girl he loves if he’d just get past the “good mornings” and weather talk. A subsequent scene with the teacher and the sister waiting for the train thus has elements of suspense, causing us to wonder if he can get past talking about the weather and clouds.

Good Morning certainly works as a tightly constructed comedy, but it contains deeper levels of enjoyment. The importance of our automatic communication has never been illuminated as well, yet the film also serves as a social statement about Japan’s entry into the modern world. Traditional ways are reflected with the older characters while the children are eager to adopt modern conveniences, leaving the parents to struggle with the choice of remaining with the old ways or seeing if they can adopt the modern conveniences without losing their way. In hindsight we already know the road that Japan will take, but it’s interesting to see how Ozu uses the “retired” man to ease the transition.

Most of all, it’s simply fun to watch Ozu’s charming and joyful comedy, comparable in spirit to Fellini’s Amarcord with its love of character, humor, and relentless fart jokes. Based on his 1932 silent comedy I Was Born, But… and not considered Ozu’s greatest film, Good Morning serves well as an introduction to the Japanese master’s ouvre and is thankfully available on DVD.

Good.Morning.1959.BluRay.576p.x264.AAC-stairs.mkv

General
Container:	Matroska
Runtime:	1h 34mn
Size:	2.07 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	788x576
Aspect ratio:	4:3
Frame rate:	23.976 fps
Bit rate:	2 921 kb/s
Audio
#1:	Japanese 1.0ch AAC LC @ 128 kb/s
#2:	English 1.0ch AAC LC @ 80.4 kb/s (Commentary by film scholars John Flaus and Adrian Martin)

https://nitro.download/view/09714DAB004E2A9/Good.Morning.1959.BluRay.576p.x264.AAC-stairs.mkv

Language(s):Japanese
Subtitles:English

The post Yasujiro Ozu – Ohayô aka Good Morning (1959) first appeared on Cinema of the World.

SOMEWHERE BENEATH THE WIDE SKY (1954, aka KONO HIROI SORA NO DOKOKA NI) came near the end of Masaki Kobayashi’s formative period as a director — scripted by the sister of his mentor Keisuke Kinoshita (and scored by Kinoshita‘s brother), this drama of middle-class life in postwar Japan tells the story lower-middle-class workers in the city of Kawasaki, and their troubles and travails.

1.66GB | 1h 49mn | 720×540 | mkv

https://nitro.download/view/59B32422E19DBF6/Somewhere.Beneath.The.Wide_Sky.1954.DVDRip.x264-FuFu.mkv

https://rapidgator.net/file/0b7c5aca65c19e84681116c328bd32e8/Somewhere.Beneath.The.Wide_Sky.1954.DVDRip.x264-FuFu.mkv

Language:Japanese
Subtitles:None

The post Masaki Kobayashi – Kono hiroi sora no dokoka ni aka Somewhere Beneath The Wide Sky (1954) first appeared on Cinema of the World.